Grateful Dead Live at Huntington Civic Center on 1978-04-16
- Live concert
- Grateful Dead
- DeadLists Project
SBD> Reel > PCM> DAT> CDR> SHN; via Mike Lai, Chris Vinci to etree, via breaker to abgd.hs; note copy a seeded to etree 2/00, copy b seeded to abgd 2/01- these differ by only 1 checksum, d1t12; static for a few seconds at the beginning of Sunshine Daydream
- 2004-04-05 13:21:00
- SBD> Reel > PCM> DAT> CDR> SHN
- Huntington, WV
- Taped by
- Transferred by
- Huntington Civic Center
Subject: A little extra
Jerry is tops start to finish. A good listen.
Subject: Great line up
Subject: to the review below
Subject: Good Show
West coast shows seemed much more laid back while east coast shows were a bit more intense.
Having said that this is one of the better west coast shows I've heard
Subject: Great Show!
Jack Straw features some expressive and poignant lines from Garcia. At the end of the second solo, he switches over to chords; his third chord run, a frenzied blur, is the charm. One of the better versions e.g. 1/7/78, 11/6/79.
His solo on Dire Wolf is also inspired, a rare treat.
The 4/11 and 2/5 Scarlet-Fires are better; his lines are more focused and inventive.
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September 11, 2010:
When I saw today World2Give's comment of 12-8-08 re: the 4-16 Scarlet-Fire vs. 4-11, I felt obliged to review my earlier listen. So I did.
The key difference occurs during what I call the "exit" from Fire, where the sung verses are finished and Garcia begins with that memorable, descending ten-note theme.
In the 4-16 concert, it begins at 6:23 and features short bits of notes, with no line particularly melodic or inventive. At 7:11, Weir enters with his slide, and he's still at it around 7:50. At that point, Garcia goes completely over to chords (interesting; but I'd much prefer hearing him improvise on that theme). By 8:36 they take it out.
By contrast, during the 4-11 concert, Garcia sounds the exit theme at 7:13 and delivers two sustained minutes of melodic invention. Pin your ears at 8:02 and dig the incredible little melody he creates, followed by another bit of Beethoven at 8:15 - 8:18. He brings this to an apparent peak at 8:25 when the drums come literally galloping in behind him. Still far from done, at 9:15 he finds his way to another peak, trilling a note, then chords, and is so frenzied he bonks into himself at 9:25.
(after Garcia sings the line "why you wanna give more," somebody audibly answers "why?" at 6:13)
As for comparing the Scarlet end of the couplet, the 4-16 Scarlet jam begins at 4:43 with Donna scatting for more than three minutes, returning for a shout at 8:51. Garcia begins quite softly, and goes to his Mutron early. He's fairly fast, underwater bubbly. The opening of Fire is a bit better here, because Garcia plays the theme.
By contrast, I found the 4-11 Scarlet jam more interesting in many respects (as well as a couple minutes longer): the band kind of spins out around 6:40, with Weir finding the way, tossing off a new, two chord pattern; there's a big note from Lesh at 7:25; and a really interesting pattern Garcia discovers at 10:08 (he eventually gets to his Mutron at 10:50; and they keep at it until 11:41 when he plays a five note signal towards Fire).
To World2Give's point, I may still be out of touch with reality :) --- let's hope so! --- but that's a fair telling of what my ears heard.
Subject: Peggy - O
Subject: No Way Dude
"The 4/11 and 2/5 Scarlet-Fires are better; his lines are more focused and inventive."
Dude you are so out of touch with reality if you think that the 4-11-78 version is better than this one, 4-16-78....
I know it's all a matter of opinion but really... you can't honestly think that the Atlanta version is better there is no comparison....
I have to believe that you were probably preoccupied with something when you listened to this Huntington Scarlet Fire.
Subject: 30th anniversary
p.s. Friedclam, try 6.20.1983 for the craziest Sugar Mag on a night when God conducted the Grateful Dead. Bobby even tried to smash his guitar ala Pete Townshend while screaming like a hyena in heat at the end of SSDD.
Subject: Deadheads from Brooklyn
The bus driver had no idea what he was in for....
Subject: Most Memorable Show
This shows got a lot of heart, great energy
RIGHT-CLICK and that's all I got to say about the matter.
Subject: Awesome, but help
Subject: Date a Drug Elf II
Subject: One of the best Sugar Magnolias ever
Subject: I was there
Subject: top notch 78' show
my favorite peggy-o ever...soo passionate
& the scarlet>fire is smokin!
thnx Ms. Ours
Subject: Date A Drug Elf
Subject: The precision of '77 AND the fire of '78
Brilliant, and indicative of the entire show, which, as I say in the title header, combines the best aspects of 1977 (precision playing, very few flubs lyrically or musically) and 1978, a year marked by a ton of passion and energetic jamming but --usually, not here-- a lot of sloppy, ugly playing.
Other standouts of this show are a slow yet funky AIKO, a kick-ass ESTIMATED>EYES (how often do you get a Sc>Fire and Est>Eyes in the same show?), and in set 1, great verisons of CASSIDY and DIRE WOLF. The show 4 days earlier in NC at Duke was just as good, but I'd give the nod slightly to this one for the 2nd set.
I'm normally not a huge fan of '78, but this gem is a rare exception and a must have.
Subject: Will Not Disappoint
someone tell me how the fuck i download this instead of just listening to it live
Subject: Scarlet > Fire
Subject: Nice and eacy
Subject: Great show
Subject: I concur
Subject: superb show
Subject: Great vibe throughout
Subject: Wake Up to Find Out That You Are the Eyes Of the World.
Subject: Smokin' Show!
Subject: Smokin' Show!
Subject: A Hot First Set
Subject: Hot Show
Subject: Great Show!
Subject: some comments
Subject: Grateful Dead: April 16th, 1978 (SBD)
Subject: sounds good, except for...